Sans Superellipse Idluh 5 is a very bold, normal width, low contrast, upright, normal x-height font visually similar to 'Bitner' and 'NuOrder' by The Northern Block and 'Betm' by Typesketchbook (names referenced only for comparison).
Keywords: headlines, posters, logos, packaging, app headers, industrial, sporty, poster, confident, playful, impact, branding, modernity, legibility, consistency, rounded corners, squarish, blocky, geometric, compact.
A heavy, geometric sans built from squarish, rounded-rectangle forms with consistently softened corners and large, enclosed counters. Strokes are uniform and dense, with tight internal spaces and compact apertures that keep the texture solid at display sizes. Curves resolve into superellipse-like bowls (notably in O/C/G), while straight-sided letters (E/F/H/N) maintain a sturdy, engineered rhythm. Diagonals (K/V/W/X/Y) are thick and stable, and figures are wide and punchy with squared-off silhouettes and rounded interior corners.
This font performs best in short to medium-length display settings where its dense weight and rounded-rect geometry can read as a strong graphic element—headlines, posters, brand marks, packaging callouts, and bold UI or app headers. It can also work for labels and wayfinding-style text when set with generous tracking and leading to preserve clarity.
The overall tone is bold and assertive, with an athletic, industrial energy that feels at home on signage and impact-driven messaging. Rounded corners add approachability, tempering the blocky mass so it reads more friendly than harsh. The result is a confident, slightly playful display voice suited to loud, modern branding.
The likely intention is a high-impact geometric display sans that merges squared construction with softened corners for a modern, approachable toughness. Its consistent, superelliptical shaping suggests it was designed to deliver a distinctive, repeatable silhouette across letters and numerals for branding and attention-grabbing typography.
The design leans on large, rounded counters and rectangular negative spaces, which creates a distinctive “stencil-free” solidity without becoming purely square. Lowercase forms keep the same blocky logic as the caps, supporting a consistent, headline-oriented color across mixed-case settings.